MOVIE MUSIC UK

GREATEST SCORES OF THE TWENTIETH CENTURY

Original Review by Craig Lysy

Director, screenwriter and actor Jacques Feyder had two dozen films to his credit when he decided to bring Prosper Mérimée’s classic 1845 novel Carmen to the big screen. Georges Bizet had in 1875 made the story famous with his opera, but Feyder felt confident that he could provide a big screen retelling, which would reach far more people. Alexandre Kamenka’s production company signed on to fund the project with Les Films Armor agreeing to distribute. Feyder personally adapted the novel into a screenplay and would also direct the film. He made the artistic decision to film live in authentic locations rather than the insular comfort of the studio sets. He brought in a fine cast, which included; Raquel Meller as Carmen, Fred Louis Lerch as José Lizarrabengoa, and Gaston Modot as García “El Tuerto”.

The story is set in Spain’s Andalusia region in the gypsy community, and explores the tragedy that befalls José Lizarrabengoa, a corporal in the Spanish cavalry who falls madly in love with the gypsy Carmen. His commander orders him to arrest her one day for assaulting a coworker, however upon meeting her, it is love at first sight. Consumed by her, José’s life begins to unravel as and he allows her to escape, deserts the army, murders two men to protect her, and becomes a robber and smuggler to make a living. Carmen is beautiful and seductive, a free spirit who cannot be tamed. José desperately seeks her love, but ultimately becomes consumed by jealousy and a violent and suffocating suitor. When she is unfaithful to him and refuses to change her ways, José snaps, kills her and then in despair turns himself into the authorities for murder. The film resonated with the public, and was both a critical and commercial success. Lastly, scenes coded (*) contain music not found on the album.

In 1925 a young Ernesto Halffter was awarded first prize by the Spanish National Prize for Composition for his orchestral piece, Sinfonietta. Producer Alexander Kamenka took notice, and in an audacious move tapped Ernesto Halffter, who was only 21 years of age to score the film. Feyder knew that Halffter was a disciple of famous Spanish composer Manuel de Falla, as well as a student of Igor Stravinsky and Maurice Ravel. That he also was a close associate to the iconic Spanish artists of the day such as Salvatore Dalí, García Lorca, and Luis Buñuel contributed to his selection as he wanted a fresh musical approach to the story. Halffter did indeed bring a more modern and contemporaneous sensibility to the score, embracing the open harmonies of the Impressionist school rather that the chromaticism of the European romantics. As to the emotional dynamics of the story, Halffter understood that at its core Carmen offers a tragedy where the powerful emotions of passion, jealousy, unrequited love and violence intersect, bringing ruin to all. As a Spaniard he also understood the story’s setting and so readily infused his score with the requisite Spanish auras and rhythms to ensure cultural authenticity. In a 1926 interview Halffter related;

“I used old regional themes, Andalusian themes, whose local colour is obvious even to the uninitiated. I followed the film’s rhythm and atmosphere step by step, ensuring that the intensity of the musical drama did not swamp the on-screen drama, because you must never forget that the music must be no more than an accompaniment. I found that Feyder is a sensitive and intelligent artist. We collaborated very closely, and I hope that the score will be worthy of the work which inspired it.”

Halffter was clearly inspired by the music gods of his day, and was a disciple of de Falla, Ravel, Stravinsky, and Rimsky-Korsakov. This very impressionist score clearly reveals these influences. For his soundscape he composed four primary themes, including; José’s Theme serves as the score’s primary identity, as this is his story. It offers a ten-note construct, that is proud, confident and adorned with Andalusian flare. Ingenious is how the theme transforms over the course of the film, mirroring José’s character arc as we see him go from a proud, vibrant and confident young man, to a jealous and tormented soul who kills the very woman he so desperately loved. The final statement of his theme in the film’s denouement reveals a defeated, desolated soul full of despair, who no longer values life. The Love Theme speaks to the love of José and Carmen, yet it is always voiced from José’s perspective as this is unrequited love. Carmen for all her beauty, and seductive charm remains elusive and unwilling to surrender her autonomy. Halffter speaks to this with a wandering line by woodwinds d’Amore and strings romantico. Notable is that the melody never resolves, reflecting Carmen’s refusal to commit. The impressionist Tension Theme speaks to tension and conflict, which arises in José’s life and channels Stravinsky with its chattering castanets, and harsh syncopated rhythms by discordant low register woodwinds and horns. The Tragedy Theme offers a plaintive, repeating seven-note construct, which speaks to and portends the tragedy of unrequited love. Its presence during the film is pervasive and speaks to the inevitable end to a man, who for love, sacrifices everything, ultimately destroying himself, and killing Carmen whom he loved.

“Anime” offers a score highlight where Halffter masterfully sets the tone of the film. We open energetically with bold staccato rhythms and vibrant Andalusian flare, which supports the roll of the opening credits, seen as white script against a black background. Two proud statements of the José’s Theme commence at 0:18, which add drama and romance. At 0:40 we segue into the film proper atop a carefree danza gentile as we see the verdant beauty of the distant village of Elizondo in Navarre as the dashing Don José Lizzarrabengoa runs into view and collapses, winded in the hillside flora. He is distraught as he is fleeing the authorities. Chattering xylophone and castanets sow uncertainty as he wipes his sweat laced brow and ponders. Distressed trumpets join at 1:04 as we see desperate concern in his eyes. Fluttering woodwinds and vibrant Andalusian auras swirl around him, externalizations of his distressed mind, which take us into town where we see towns folk gathering outside the police station.

“Modere (Sombre)” opens darkly with a pulse of doom as a solo oboe cupo emotes José’s Theme, which supports him donning his jacket. Fluttering woodwinds of flight join a now desperate José’s Theme and carry his run to his family’s house. As he enters the gate at 0:59 his theme softens and shifts to tender woodwinds. The music is tinged with sadness and takes on oriental auras of uncertainty as he looks for his mother. At 1:48 his theme shifts to strings of regret and oboe triste as his mother enters. She sees something is amiss and asks what is wrong. He sits down, with says; “I killed a man.” As he relates his tale at 2:29 impressionist woodwinds sour, and weave his tale in a flash back as we see a friend confront him and state; “Yes, you cheated!” A duel with wood sticks takes place, in which José strikes his friend in the head and unintentionally kills him. His theme shifts to grieving strings as he is distraught and flees the scene as townsfolk take away the body. At 2:48 impressionist woodwinds animato take him back to his mother where he cries in her lap and is comforted. At 3:11 the music becomes strident on the Tension Theme as the police ride by horseback to his mother’s house. The music becomes filled with sadness and regret as she gives him a coat and the hug for the last time. We close on an extended diminuendo of uncertainty as we se José flee into the countryside and the police arrive at his mother’s house.

“Le Vielle Castille: Anime” reveals scripts; “And he headed south, through forests and heathes, to the plateaus of Castilla la Vieja”. We see José turning to give a last glance to his village, and then turning to walk to a new life. Halffter channels Stravinsky with a discordant, and harsh syncopated rhythm by low register woodwinds and horns, which carry José progress. At 0:21 the music brightens on his theme carried by spritely woodwinds animato as we see him jumping out of a cart and thanking its driver for giving him a lift. At 0:47 a four-note motif carries his walk-through town, joined at 0:52 by a dancing oboe delicato. “La Taverne” (*) reveals José sitting down at an outside table of a tavern as we read; “A recruiting Petty officer.” The harsh and strident Tension Theme supports as we see two military officers evaluating him. French horns and snare drums launch a new Military Theme as they try to recruit him to no avail.

“En Andalusie: Triste et Mysterieuse” reveals views of the mountainous Andalusian countryside where resides a smuggler camp. Halffter sow suspense with a repeating forlorn and undulating Tragedy Theme, a woodwind misterioso with shifting string figures as we move into the smuggler’s camp. The theme is sustained and embellished with Andalusian auras as we are introduced to the outlaw leader Le Dancaire and Carmen’s husband García, El Tuerto – the one-eyed. At 2:54 a solo oboe triste supports Carmen’s introduction and defiance of Le Dancaire’s order to infiltrate the Royal Tobacco Factory and gain vital information. García pulls her aside and attempts to bully her into submission at 3:54 supported by an aggrieved solo viola. At 5:16 Halffter unleashes a torrent of anger as he has had it with her disobedience as he twists her arm, threatens to break it, and then slaps her. We close with sadness and devastation with a return to the Tragedy Theme as Carmen submits and cries on the ground.

“Real Fabrica de Tobacos” offers a score highlight, which reveals the Royal Tobacco Factory guarded by soldiers and supported by a forceful marcia militare propelled by timpani and field drums. Trumpets and horns reale join to support the changing of the guard’s ceremony, which is watched by the town’s folk. At 1:27 woodwinds animato usher in Spanish accents as the night commander hands off to the day watch commander. At 2:02 it is noon and we see the workers all breaking for lunch, including Carmen who flirts with two soldiers, supported by an animated Andalusian melody pulsing with life. At 3:11 a diminuendo usher in contemplative religioso auras with exquisite writing for woodwinds as the workers pray in the chapel to the Virgin Mary before returning to work. At 4:26 woodwinds esotica introduce a colorful dance-like melody as an argument ensues between Carmen and another woman. As it escalates so too does the music, which gains increasing anger and energy until 5:26 when a physical fight erupts with Carmen prevailing. We dissipate on a diminuendo at 5:45 as the head mistress alerts the soldiers who arrive and arrest a defiant Carmen. As she is led away by José, spirited strings animato carry their departure replete with Andalusian auras, which slowly dissipate. At 6:50 slowly surging strings of defiance support Carmen’s attempt to forestall being taken to jail. At 7:34 a harp ushers in the woodwind Andalusian melody, which carries Carmen’s being forcibly taken to the jail, its energy surging and adorned by exotic rhythmic accents. At 8:26 Carmen, with José’s complicity, breaks free and runs away through the crowded streets with soldiers in pursuit. She ducks into a shop and hides as the soldiers run past. Halffter propels her escape with festive strings energico adorned with Andalusian accents. We close at 10:00 with a gradual diminuendo of sadness as the Andalusian Theme dissipates while José walks to inform his commander of Carmen’s escape. He his berated and imprisoned for his incompetence and we close with the Military Theme (not on the album).

In “Mysterieux, calme” José is depressed as he sits in silence in his jail cell contemplating his circumstances. Halffter speaks to this with a poignant woodwind pathos which achieves a beautiful cinematic confluence. He is later released, but demoted to guard duty. “Mysterieux” reveals the smugglers have taken refuge in the mountains, within an abandoned tavern. Halffter weaves a misterioso full of unease to support the scene. “L’Attaque” (*) reveals border guards discovering the hideout, an launching a surprise attack. Halffter propels the attack and battle with tremolo strings of alarm and strident trumpets, which evolve into a danza esotica as the smugglers are routed and the capture of García. “La Fête” (*) reveals esteemed patrician guests arriving for a social at the Colonel’s mansion. Halffter supports the ambiance with Andalusian auras, with subtle undercurrents of tension. “Tres Retenu” reveals the arrival of Carmen who flirts with José, who is clearly smitten. Seductive strings support her arrival and transform into the woodwind borne Love Theme, tinged with sadness, which portends the fate of our two lovers. At 0:44 a classic minuet carries Carmen’s entry and fawning over by officers who surround her. The music speaks from her perspective as we see José simmering with jealousy.

“Danse de Carmen: Moderato non Troppo – Pesante” offers a score highlight as we see Carmen seductive charms have won the men over and she is invited back to the mansion. Halffter supports with a danza erotica as Carmen’s every move is one of alluring, purposeful seduction. “Pesante (mais en mesure)” offers a score highlight with excellent thematic interplay. The next day José goes to a local café in hope of meeting Carmen. Halffter sow unease with a reprise of the seven-note Tragedy Theme, which wanders aimlessly and never resolves. (This opening is not on the album). The album commences with festive shifting rhythms as the town comes to life and one by one patrons enter, each one tensely watched by José who is desperate to see Carmen. At 2:04 woodwinds d’amore usher in the Love Theme as she arrives, his face beaming with happiness. She joins him, flirts and they depart carried by the seven-note Tragedy Theme (not on the album). While walking along the city walls, we see that he is bemused by her as they embrace while the camera does a panorama over the verdant countryside. The music clearly emotes from his perspective as we have interplay of the Military and Love Themes, which speak to his inner turmoil, and the conflict between his heart, and the bugle call for him to report for morning duty. He departs with regret much to her displeasure, yet the allure of the Love Theme brings him back to her for a kiss. “En Prison á Tarifa” (*) reveals García sitting alone, shirtless and full of anguish in a prison cell. A tattoo of Carmen is seen on his chest and Halffter supports his suffering with an extended soliloquy by an oboe triste. “Soledad: Allegretto” reveals a distraught José searching for many nights the many street bars in hope of finding his beloved Carmen. A pulsing bassoon supports thirsting strings and flute animato emoting José’s Theme, which is adorned with Andalusian auras.

“Carmen Apparaît” (*) reveals Carmen surprising José while on guard duty. The rendezvous is supported by an extended rendering of the Tragedy Theme with Andalusian auras. As she asks him to meet her Lillas Pastia Café Friday night at midnight strings seducente support her ensnaring his heart. “Le Combat” (*) reveals it is Friday night and Carmen sitting with José’s commanding officer at the local Calderon tavern, which features an indoor bull fighting ring. They enjoy the night together and Halffter supports the ambiance festively with Spanish guitar, castanets, and rich ethnic rhythms. We see José waiting for their agreed rendezvous at Lillas Pastia Café Friday night at midnight. To set the ambiance, a bassoon empowers a woman’s danza seducente for a table of seven men. José is becoming frustrated and the music sours as he waits for her arrival. At one o’clock Carmen runs into the café and tells José to leave as his commander is coming. As the commander enters and approaches the music darkens with grim purpose, which worsens when you see hatred in José’s eyes and the commander orders him to leave. José refuses snd grabs his saber sheath as the commander orders him one last time to leave. They draw swords and commence a duel, which Halffter supports with Spanish dance rhythms. A diminuendo of despair unfolds after José thrusts and kills the Colonel. A molto tragico lament supports the wounded José’s exit, followed by Carmen who takes him to a friend’s house where she dresses his wounds. We close with contemplative strings full of uncertainty joining with the tragedy motif as Carmen ponders whether to cast her lot with José or García.

“La route de la cote vers Tarifa” reveals Carmen has made her choice and is travelling to Tarifa on the coast intent of assisting García escape. A flute tranquila meanders as we see her coach traveling through the countryside. At 0:56 dissonance and cacophony enter as we see Carmen planning and paying García’s escape with some men she has hired. At 1:56 a confident trumpet ushers in a confident danza formale rich with Spanish auras as El Tuerto is given a loaf of bread with a file baked into it to pass to García. The music is sustained with a change of scenes where we see José has deserted and joined the outlaws. Returning to prison, the dance supports García’s escape and return to the outlaw camp. “La Devastation de José” (*) reveals García and Carmen arriving on horseback to camp and we see shock and then devastation in José’s eyes when a companion reveals that she just helped her husband escape from prison. Halffter supports with a pervasive and portentous Tragedy Theme borne by strings tristi as we see her riding with García on his horse. What unfolds after their arrival is an extended passage by an impressionist, wandering string line with an oboe triste, which speaks to the unease and discomfort brought by the reunion of José and Carmen. We see in her eyes that she knows well that she has mislead José and the fact that the music never culminates or resolves informs us that their feelings remain unsettled and simmering. Later that night the two men glare menacing at each other, as José cannot contain his jealousy and sense of betrayal. We close with a militant horn declared, and repeating A Phrase of José’s Theme as he watches García and Carmen enter their tent together. Yet the support by strings romantico inform us that anger contests with love.

“A l’aube: Tres lointain” offers a beautiful pastorale by flute tranquilo as we behold dawn and a fog cloud swept landscape. The gentility is sustained as we see the outlaws riding through a narrow canyon. “Embuscade” (*) reveals the royal troops ambushing the caravan, which Halffter propels with horns of alarm, chattering xylophone and an impressionist torrent as many of the outlaws are gunned down, with the few survivors fleeing for their lives. A relentless drums militare beat joins as the troops follow in hot pursuit. Remedado is mortally wounded and a lament for strings and flute triste support as his comrades carry him away as the troops give up the chase and depart. After García sends José away, he shoots his wounded friend Remedado in the head, takes his gun, and departs. The lament by strings and flute carries their escape into the mountains, yet the loss of most of their comrades and all their mules is devastating.

“José’s Tue García” (*) reveals Carmen has departed to reconnoiter the nearby town leaving José, García and Le Dancaïre behind. José’s Theme rises and becomes prominent as he challenges García to a card game to pass the time. A militant trumpet joins to inform us that this is not for sport. A portentous Tragedy Theme joins as the game starts, and intensifies as José exposes that García has been cheating. Trilling impressionist woodwinds raise tension as anger swells in the men. A danza impressionista supports the inevitable knife duel with a badly wounded José killing García. A serpentine flute orientale supports Le Dancaïre carrying José to rest by the camp fire. As the men converse and bond the woodwind borne Tragedy Theme flows as an undercurrent. “Carmen Revient” (*) reveals her return with a mule with provisions and a guide. Spanish trumpets brilliante herald her triumphant arrival, yet alarm and tension join with strings as Carmen sees that García is nowhere to be found. She asks if he was the killer, and he states that it was a just and fair fight, which unleashes a strident impressionist torrent as she recoils. Yet after she ponders, she says what is done is done, and let’s move on. The music warms as she hugs and tells him that he will not die as she loves him.

In “Triste et Mysterieuse” Carmen has secured a guest house in town so José can convalesce. A soft, yet pervasive Tragedy Theme supports as Carmen dresses up and departs only to find posters that offer a reward of 200 ducats for the capture of Don José Lizzarrabengoa, dead or alive, for being a murderer, rebel and deserter. At 2:39 the music softens and becomes romantic as José asks Carmen to come away with him to his beautiful home province where they can be together forever. Yet the music darkens at 3:46 as she knows his days are numbered as a wanted man, a fate confirmed by her Tarot card read. At 4:37 woodwinds usher in José’s Theme as we see in his mind flashbacks to happy times in his home town, yet the music darkens as she tells him that “dogs and wolves were not meant to live together. The music saddens as he is frustrated and accuses her of not disclosing the real reason for her refusal to live with him. Yet at 7:04 alarm surges as their argument are heard by a man on the street. They join in silence, and the man continues on his way. She is clearly flustered, departs and at 9:23 the music darkens on abyssal bassoon as we see that seclusion is fueling José’s jealousy. At 11:36 the music brightens and ascends with happiness as the dashing Lucas and Carmen flirt at the market and she agrees to a date at a bull fight Sunday.

“La Rage de José” (*) reveals that Carmen has dressed beautifully and José demands to know where she is going. Her response “Where I please,” provokes his jealousy and the music surges in anger and violence as he tears off her shawl and throws her to the ground. He repeated pounds on her back with his fist demanding to know who she is seeing. The pummeling causes her to pass out and the Tragedy Theme joins as he realizes that he has gone too far and backs off. Strings full of pain support her getting up and his crying pleads to forgive him. But she says nothing and ascends the stairs to her room. The next day it is Sunday, and she descends beautifully dressed. He compliments her, she departs, and the Love Theme erupts with rage as he is again left alone. “José Apprend la Vérité” (*) reveals Carmen riding in a carriage to the bullfight, and the Tragedy Theme supports her progress. A return to the house erupts in impressionist anger, which subsides when a smuggler comrade visits. He relates the truth about Lucas and Carmen and the music sours on strings and then swells with anger. José rushes out followed by his friend and sees a poster highlighting Lucas performing a bull fight. He rides towards the stadium propelled by angry drums and horns. Halffter sow a soundscape for of dread, which hangs like a dark pall as we enter the crowded stadium. The harshly punctuated Tragedy Theme carries Carmen’s arrival. Barking horns and woodwinds full of unease carry her into the stadium, with darkly hued strings supporting her taking her seat. We close being bathed in impressionist religioso auras as Lucas enters the chapel, kneels, and prays to the Madonna.

“Paso Doble: Brillante” offers a wonderful score highlight where Halffter uses the classic passion, intensity and rhythms of the Paso Doble dance to support the bull fight. The album version is truncated significantly as the scene goes on for several minutes. José enters the stadium and becomes enraged when Lucas gifts Carmen a token of his affection that she removes from his spear. The dance sustains the bullfight, becoming embellished with grand Andalusian auras as Lucas dismounts, with his sword and prepares to strike the lethal blow to the wounded bull. He slays the bull supported by a Paso Doble flourish, remounts his horse and takes a victory ride, yet another bull escapes and manages to mortally gore both him and his horse. In “Mysterieux, calme” a flute triste leads a lamentation, which supports the aftermath as the dying Lucas is taken to the chapel where he is given the last rights. He asks for Carmen who is making her way to see him. Meanwhile a man reports to the police that José was seen in the square, which Le Dancaïre over hears. “L’Enlévement” (*) reveals José reaching the chapel gate supported by horns of doom, which resound with alarm as he grabs Carmen by the arm. Le Dancaïre arrives and alerts José that he has been spotted and being sought by the police. Halffter sow a rising panic as Le Dancaïre lifts Carmen onto the horse and José flees the town. Le Dancaïre attempts to stall the mounted police and is shot dead with shrill discordance supporting his death. Chase music propels their ride with the police in hot pursuit, and we close on a diminuendo of uncertainty as José diverts off road into the forest and loses the police.

“Mort de Carmen: Calme” offers a supreme score highlight with Halffters finest and most poignant composition. We open darkly with forlorn strings as José rides deeper and deeper into the forest. At 0:13 a crescendo romantico supports their ride to safety. Impassioned strings surge after they stop, dismount and Carmen with defiance says “You will not make me give in”. A dark diminuendo follows with a lurking Tragedy Theme, from which ascends another crescendo full of longing as José pleads that he is at the limits of his patience. We see the intersection of love and jealousy, of desperation and defiance, as José declares;

“Decide what it is that you want or I will decide for you. I have become a thief and a murderer for you…Let me save you and save myself alongside you”.

An impassioned Love Theme surges as he gets down on his knees, yet her stony silence causes the theme to become plaintive, filled with a pathos of despair. Yet powerful emotions are in play as lays at her side pleading with the Love Theme now filled with pathos and pain, which crests at 3:32. A diminuendo follows and at 3:53 the music sours as we see she will not even make eye contact with him, as she is impervious to his impassioned pleas. He embraces her and she finally relents and says; “I still love you José, but it is impossible”. His embrace, like the music falls away in despair, only to resurge with passion at 4:10 as he steps back, pulls out his dagger and declares; “For the last time will you follow me”? We surge on an impassioned crescendo romantico, which crests magnificently at 5:15 as she tosses away his ring and he with rage stabs her twice in the chest. Ethereal splendor supports her serene passing as he watches with disbelief and despair. We slowly close, as the scene dissolves into nothingness, and the Love Theme dissipates with it. At 6:50 a forlorn and dispirited José’s Theme carries his horse ride to the police station at Gaucin where he surrenders himself to the authorities. He is a broken man who no longer values life. He kisses his horse goodbye, walks into the jail and we end on a tragic final chord as the door slams closed.

Please allow me to thank Hans-Bernhard Bätzing for this remarkable restoration and release of Ernesto Halffter’s masterpiece, “Carmen”. The performance of the Frankfurt Radio Symphony Orchestra under Mark Fitz-Gerald’s baton was exceptional and the recording offers an exceptional listening experience. This magnificent score for Jacques Feyder’s 1926 silent film, offers one of the great impressionistic Spanish masterpieces of its era. Halffter’s brilliantly conceived a tragic musical narrative where we bear witness to a fateful intersection of passionate love and jealousy, and of desperation and defiance. The transformation of José Theme over the course of the film aligns with his character arc as we see him go from a proud, vibrant and confident young man, to a jealous and tormented soul who kills the very woman he so desperately loved. The poignant final statement of his theme in the film’s denouement reveals a defeated, desolated soul full of despair, who no longer values life. The Love Theme speaks to the love of José and Carmen, yet it is always voiced from José’s perspective as this is unrequited love. Carmen for all her beauty, and seductive charm remains elusive and unwilling to surrender her autonomy to any man. Halffter speaks to this with a wandering line by woodwinds d’Amore and strings romantico. Notable is that the melody never resolves, reflecting Carmen’s refusal to commit. Folks, this impressionist score is rich with Andalusian auras, dramatic writing and thematic development, which was brilliantly conceived and executed. I consider it a masterpiece of the Silent Film Age and highly recommend this exceptional album for your collection.

For those of you unfamiliar with the score, I have embedded a YouTube link to a twenty-four-minute suite; https://www.youtube.com/watch?v=AnsO1XST2Y4

Buy the Carmen soundtrack from the Movie Music UK Store

Track Listing:

• Anime (1:24)
• Modere (Sombre) (4:26)
• La Vieille Castille: Anime (1:26)
• En Andalousie: Triste et Mysterieuse (6:27)
• Real Fabrica de Tobacos (11:24)
• Mysterieux, Calme (0:49)
• Mysterieux (0:47)
• Tres Retenu (1:29)
• Danse de Carmen: Moderato non Troppo – Pesante (2:31)
• Pesante (Mais en Mesure) (3:47)
• Soledad: Allegretto (1:12)
• La Route de la Cote vers Tarifa (5:11)
• A l’Aube: Tres Lointain (1:34)
• Triste et Mysterieuse (12:56)
• Paso Doble: Brillante (1:35)
• Mysterieux, Calme (1:50)
• Mort de Carmen: Calme (8:01)

Running Time: 66 minutes 49 seconds

Naxos 8-572260 (1926/2011)

Music composed by Ernesto Halffter. Conducted by Mark Fitzgerald. Performed by The Frankfurt Radio Symphony Orchestra. Original orchestrations by Ernesto Halffter. Recorded and mixed by Rüdiger Orth. Score produced by Ernesto Halffter. Album produced by Hans-Bernhard Bätzing.